Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Papua New Guinea and from Johannesburg.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1966 to 1974.
I'm losing my edge.
To all the kids in Hong Kong and Woodstock.
I'm losing my edge to the art-school Beijing kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1973 at the first Television practice in a loft in New York.
I was working on the mellotron sounds with much patience.
I was there when Holger Czukay started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Japan to the crunk kids.
I played it at the Crocodile.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Eden Ahbez. All the underground hits.
All David Axelrod tracks. I heard you have a vinyl of every Ornette Coleman record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Be Bop Deluxe record.
I hear that you and your band have sold your theremin and bought a marimba.
I hear that you and your band have sold your marimba and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James Chance & The Contortions,
Rod Modell,
Magma,
the Association,
Niagra,
Judy Mowatt,
ABBA,
Kenny Larkin,
Kango’s Stein Massive,
Captain Beefheart & His Magic Band,
Black Sheep,
Gil Scott Heron,
Boz Scaggs,
Pharaoh Sanders and the Fire Engines,
World's Most,
Sandy B,
Amon Düül II,
Half Japanese,
Nils Olav,
A Certain Ratio,
Eric B and Rakim,
Skaos,
Joensuu 1685,
L. Decosne,
Ludus,
Oneida,
Ohio Players,
Gang Starr,
PIL,
The Doobie Brothers,
Cybotron,
Scientists,
Avey Tare's Slasher Flicks,
Kevin Saunderson,
Con Funk Shun,
Derrick May,
Bush Tetras,
The Cure,
Dennis Brown,
The American Breed,
Terrestrial Tones,
Tears for Fears,
Wolf Eyes,
Lungfish,
Peter & Gordon,
Television Personalities,
Harmonia,
Fifty Foot Hose,
Mandrill,
Deutsch Amerikanische Freundschaft,
Brothers Johnson,
The Doors,
Roger Hodgson,
Oblivians,
Los Fastidios,
Peter and Kerry,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Bootsy's Rubber Band,
Agitation Free,
Average White Band,
The Leaves,
Althea and Donna,
David Axelrod,
The Fall, The Fall, The Fall, The Fall.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.